{"title":"英文摘要","authors":"K. Arntzen","doi":"10.1515/zfr-2018-2001","DOIUrl":null,"url":null,"abstract":"Knut Ove Arntzen: »Den Gjenoppståtte Teatermaskin« In the article »The Resurgent Theatre-Machine« Arntzen points out a paradox in the relationship between what he calls a Theatre of Art and a Theatre-Machine. The paradox consists in the fact that the Theatre of Art, i.e. the avant-garde, on the one hand stands in opposition to the Theatre-Machine, i.e. art as craft. On the other hand however Arntzen observes the resurgence of the Theatre-Machine inside the framework of the Theatre of Art in contemporary theatre.","PeriodicalId":222401,"journal":{"name":"Zeitschrift für Religionswissenschaft","volume":"53 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2018-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"English Summaries\",\"authors\":\"K. Arntzen\",\"doi\":\"10.1515/zfr-2018-2001\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Knut Ove Arntzen: »Den Gjenoppståtte Teatermaskin« In the article »The Resurgent Theatre-Machine« Arntzen points out a paradox in the relationship between what he calls a Theatre of Art and a Theatre-Machine. The paradox consists in the fact that the Theatre of Art, i.e. the avant-garde, on the one hand stands in opposition to the Theatre-Machine, i.e. art as craft. On the other hand however Arntzen observes the resurgence of the Theatre-Machine inside the framework of the Theatre of Art in contemporary theatre.\",\"PeriodicalId\":222401,\"journal\":{\"name\":\"Zeitschrift für Religionswissenschaft\",\"volume\":\"53 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-10-08\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Zeitschrift für Religionswissenschaft\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1515/zfr-2018-2001\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Zeitschrift für Religionswissenschaft","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1515/zfr-2018-2001","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
Knut Ove Arntzen:“Den gjenoppstat Teatermaskin”在文章“复兴的戏剧机器”中，Arntzen指出了他所谓的艺术剧院和戏剧机器之间关系的悖论。矛盾在于，艺术剧场，即先锋派，一方面与戏剧机器，即作为工艺的艺术对立。然而，另一方面，阿特森观察到戏剧机器在当代戏剧艺术框架内的复兴。
Knut Ove Arntzen: »Den Gjenoppståtte Teatermaskin« In the article »The Resurgent Theatre-Machine« Arntzen points out a paradox in the relationship between what he calls a Theatre of Art and a Theatre-Machine. The paradox consists in the fact that the Theatre of Art, i.e. the avant-garde, on the one hand stands in opposition to the Theatre-Machine, i.e. art as craft. On the other hand however Arntzen observes the resurgence of the Theatre-Machine inside the framework of the Theatre of Art in contemporary theatre.
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